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Lessons from Colourist Mentors, Cinematographers, and Tips On Grading Quickly and Surprising Clients
I’m excited to share my interview with Ferg Rotherham. He’s a senior colourist and his credits include “The Pope’s Exorcist”, “Heartbreak High”, and “Boy Swallows Universe.”
We discuss his journey in the industry and the mentors who have shaped his career. Fergus also talks about his transition into long-form grading and the challenges of managing his own schedule as a freelancer.
We talk about the process of grading some of his recent projects and the challenges when transitioning from theatrical grade to HDR.
Key takeaways from this Insight
- Starting as an assistant and being mentored by experienced colorists is a valuable learning experience in the industry.
- Managing clients and running a grading room requires technical skills and the ability to handle different personalities and opinions.
- Developing a personal style as a colorist can help distinguish your work and attract clients.
- Balancing short and long-form grading projects can be challenging, but having strong relationships with directors and DOPs can help maintain a steady workflow.
- Transitioning from theatrical grade to HDR requires contrast, levels, and color adjustments to maintain the intended look.
- Remote work can revolutionize the industry, allowing for greater collaboration and the ability to work on projects from anywhere.
- Recognition and awards are important in the industry as they validate professionals’ hard work and talent.
- Adapting a story for the screen requires balancing staying true to the source material and creating a visually compelling experience.
- Taking an overview approach and leaving room for perspective can help colorists maintain a fresh perspective and make better decisions in their work.
External Links
- Ferg’s IMDb
- Ferg’s’ Website
- Ferg’s’ Instagram
- Colorfront
- Baselight
- DaVinci Resolve
- ACES
- The Pope’s Exorcist IMdB Stills Gallery
- Boy Swallows Universe IMdB Stills Gallery
Related Mixing Light Insights
- SDR to HDR – Dolby Vision Trims – Learn how to use the original SDR color grade as a reference for a new Dolby Vision trim from an HDR re-master
- Color Grading Time Management: Grading in Passes – It’s easy to get lost in the weeds when color correcting. Learn a Color Correction Time Management technique that keeps you from missing deadlines!
- Working With Reference Images Part 1: Evaluating Provided References – In part 1 of this series, learn how to interpret and read references for contrast, tonality, and other key factors.
Chapters
- 00:00 – Introduction
- 02:00 – Mentors
- 03:17 – The Role of an Assistant Colorist
- 08:58 – Managing Time and the Room
- 11:21 – Transitioning from Commercials to Long Form
- 23:01 – Working with Different Color Management Systems
- 27:36 – Creating the Look for ‘The Pope’s Exorcist’
- 33:20 – Grading Reel by Reel
- 35:05 – Transitioning to HDR
- 38:24 – ‘Trim Days’ and Collaboration
- 39:08 – Theatrical vs. HDR
- 41:04 – Working Remotely
- 44:22 – Recognition and Awards
- 49:55 – Grading ‘The Unusual Suspects’
- 50:52 – Creating the Look for ‘The Unusual Suspects’
- 54:52 – Working with DPs Shelley Farthing-Dore and Mark Wareham
- 56:19 – Learning from Experienced DPs
- 1:02:28 – Working with references
- 01:04:22 – Moving to Queensland
Questions or Comments? Leave a comment!
Did Ferg say something helpful or surprising? Discover+ and Premium members can share their thoughts in the comments below!
– Kali